The use of interactive technology in the arts has changed the audience from viewer to participant and in doing so is transforming the nature of experience. From visual and sound art to performance and gaming, the boundaries of what is possible for creation, curating, production and distribution are continually extending. As a consequence, we need to reconsider the way in which these practices are evaluated. Interactive Experience in the Digital Age explores diverse ways of creating and evaluating interactive digital art through the eyes of the practitioners who are embedding evaluation in their creative process as a way of revealing and enhancing their practice. It draws on research methods from other disciplines such as interaction design, human-computer interaction and practice-based research more generally and adapts them to develop new strategies and techniques for how we reflect upon and assess value in the creation and experience of interactive art. With contributions from artists, scientists, curators, entrepreneurs and designers engaged in the creative arts, this book is an invaluable resource for both researchers and practitioners, working in this emerging field.

The Disappeared tells the extraordinary saga of Argentina’s attempt to right the wrongs of an unspeakably dark past. Using a recent human rights trial as his lens, Sam Ferguson addresses two central questions of our age: How is mass atrocity possible, and What should be done in its wake? From 1976 to 1983 thousands of people were the victims of state terrorism during Argentina’s so-called Dirty War. Ferguson recounts a twenty-two-month trial of the most notorious perpetrators of this atrocity, who ran a secret prison from the Naval Mechanics School in Buenos Aires. The navy executed as many as five thousand political “subversives,� most of whom were sedated and thrown alive out of airplanes into the South Atlantic. The victims of these secret death flights and others who went missing during the regime are known as los desaparecidos—“the disappeared.� Ferguson explores Argentina’s novel response to mass atrocity: the country’s remarkable and controversial decisions in 2003 to repeal a series of amnesty laws passed in the 1980s and to prosecute anew the perpetrators of the Dirty War a generation after the collapse of the country's last dictatorship. As of 2022 more than one thousand aging military officers have been indicted for their involvement in the Dirty War and hundreds of trials have commenced in the country’s civilian courts. Among the many facets of the book, Ferguson takes an in-depth look at allegations that Father Jorge Mario Bergoglio, now Pope Francis, was involved in the disappearance of two Jesuit priests under his supervision in 1976. Bergoglio was called to testify in a closed-chambers session. Ferguson reviewed those secret proceedings and uses them as a springboard to explore the Argentine Catholic Church and its broader role in the Dirty War. The lingering but acute trauma of the victims who testified at the trial underscores the moral urgency of accountability. When a state strips its citizens of all their rights, the only response that approximates reparation is to restore the rule of law and punish the perpetrators. Yet the trial also revealed the limits of using criminal law to respond to mass atrocity. Justice demands a laser-like focus on evidence relevant to a crime, but atrocity begs for social understanding. Can the law ever bring full justice?  

The use of interactive technology in the arts has changed the audience from viewer to participant and in doing so is transforming the nature of experience. From visual and sound art to performance and gaming, the boundaries of what is possible for creation, curating, production and distribution are continually extending. As a consequence, we need to reconsider the way in which these practices are evaluated. Interactive Experience in the Digital Age explores diverse ways of creating and evaluating interactive digital art through the eyes of the practitioners who are embedding evaluation in their creative process as a way of revealing and enhancing their practice. It draws on research methods from other disciplines such as interaction design, human-computer interaction and practice-based research more generally and adapts them to develop new strategies and techniques for how we reflect upon and assess value in the creation and experience of interactive art. With contributions from artists, scientists, curators, entrepreneurs and designers engaged in the creative arts, this book is an invaluable resource for both researchers and practitioners, working in this emerging field.

This volume is the first study of the diary in French writing across the twentieth century, as a genre which includes both fictional and non-fictional works. From the 1880s it became apparent to writers in France that their diaries-a supposedly private form of writing -would probably come to be published, strongly affecting the way their readers viewed their other published works, and their very persona as an author. More than any other, Andre Gide embraced the literary potential of the diary: the first part of this book follows his experimentation with the diary in the fictional works Les Cahiers d'Andre Walter (1891) and Paludes (1895), in his diary of the composition of his great novel, Le Journal des faux-monnayeurs (1926), and in his monumental Journal 1889-1939 (1939). The second part follows developments in diary-writing after the Second World War, inflected by radical changes in attitudes towards the writing subject. Raymond Queneau's works published under the pseudonym of Sally Mara (1947-1962) used the diary playfully at a time when the writing subject was condemned by the literary avant-garde. Roland Barthes's experiments with the diary (1977-1979) took it to the extremes of its formal possibilities, at the point of a return of the writing subject. Annie Ernaux's published diaries (1993-2011) demonstrate the role of the diary in the modern field of life-writing. Throughout the century, the diary has repeatedly been used to construct an oeuvre and author, but also to call these fundamental literary concepts into question.